the grey room is a work Jagna Ciuchta set up at the Fondazione Antonio Ratti, Como, in 2011.
"I arrange an empty exhibition space in the Textile Museum of FAR, with newly painted walls,
curtains and exhibition accessories as empty showcases, frames and plinths. I invite artists to
occupy the space with their works, what creates a self-curating, self-displaying and self-running
exhibition that transforms everyday through one month. Afterwords I write a diary."after the grey room is an activation of the photographs Jagna Ciuchta took after the
exhibition's dismantling, accompanied by her diary.

In the dark of night, on the border between sea and land, I fired emergency flares directly
at suspended photographic paper. As a result of the collision the flare changed trajectory and
instead of flying over sea it landed on shore. At the same time the flare left traces of light on the
photographic paper representing the moment of collision.The result is a series of 8 b &w
photographs that where developed on site, using the night as darkroom.

In the dark of night, on the border between sea and land, I fired emergency flares directly
at suspended photographic paper. As a result of the collision the flare changed trajectory and
instead of flying over sea it landed on shore. At the same time the flare left traces of light on the
photographic paper representing the moment of collision.The result is a series of 8 b &w
photographs that where developed on site, using the night as darkroom.

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.

Alexander GutkeShine on, 2010
S8 Kodachrome film
Approximately 1 mn 30
Edition 10 + 2 AP, each unique (5 copies available as part of the Irmavep Club Jahresgabe)

The Super-8 film portrays a lit incandescent light bulb displayed against a black background.
The bulb was taken from the last run of production before the closing down of the General Electric
incandescent bulb factory in Winchester, Virginia, 09/23 2010 and is documented using
Kodachrome film, S-8, Type A, which will be developed by Dwayne's Photo, Parson, Kansas,
the last remaining Kodachrome processing facility, which will cease its processing of all
Kodachrome film on 12/30 2010.

The piece consists of 12 unique 1.30 minute films, which document the lit bulb. Each of the 12
films will be available as delivered from the processing facility and no further exhibition copies will
be developed after this date.

21+1 is a set of posters hidden in a blackbox.
These posters have been seen by me just once before enclosing in the box.
The idea of the blackbox as a riddle of a memory created by another.
The idea of a set of pictures as a cartography of peaceful pirates.